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L'allegro and my mother

When the MMDG did L’allegro in Boston in 2006, I timed a visit from my 84-year-old mother in Tennessee so that she could join me and the 7-8 friends I had recruited (first time for many of them, fourth time for me) for the performance.  During the first half, Mom got a bit dozy during some of the quieter sections. At intermission, she knocked back a Coke, throwing caution and bathroom lines to the winds, and was wide awake for the second half. As the lights began to dim on the spinning circles at the end, she grabbed my hand and said “Oh don’t let it be over!”  She’s still going strong at 92 and if you’ll do it again in Boston (or even Atlanta), we’ll be there.

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I saw l'Allegro for the first time in 2012 in Washington, D.C. I was stunned by the way that dancers running across the stage in the opening could make me catch my breath, the way the beauty and simplicity of people walking across the stage (in "As Steals the Morn") could go  make me cry, the way the dancers bounding across space in the finale could lift up my heart with joy.  It was in the simple, respectful gesture of a bow, of dancers holding and dropping hands, that went straight to my heart - in an era in which cynicism and disrespect and "me first" seem to reign.  It was the message that living with joy is a choice.  I got the music and set it as an inspirational wake-up for myself all year. I vowed to see l'Allegro again whenever I could, and was so blessed to see it again on the 25th anniversary performance this past November 23rd. Thank you, Mark Morris and dancers, thank you for bringing this exquisite joy to so many.

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A Wish Granted

Many moons ago, when L'Allegro... first appeared in Brooklyn, I was totally stunned. The Belgians had offered Mark a choreographer's dream, and he made the most of it: a substantial company, a live orchestra, a beautiful house, almost unlimited funds.The depth and complexity of the piece left my head spinning, and I wanted to see it again. And again, if possible.Finally, at long last, I got my wish. It was everything I expected and more. Let me add a shout out to Adrienne Lobel for her brilliant scenic design.

Lincoln Center justified its addition to the "White Light Festival" on the grounds that it is "sublime." A totally inadequate adjective. This is a work of art that combines poetry, music, wit, insight, passion, history, imagination, and virtuosity.It should be performed at least as often as Balanchine's Nutcracker,which is also totally sublime. Some works deserve to be seen -- MUST be seen -- again and again.

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Jaw-dropping. Amazing. Thoroughly satisfying.

I've seen a lot of MMDG work over the years since taking some classes from Mr. Morris in the mid-80s (ahem), but somehow I had never managed to see a full performance of L'Allegro, and knew it only by reputation.  On first viewing, I was blown away.  On second viewing, I realized it's the finest work of choreography I've ever seen, in any dance genre.  It's one of those pieces that defines its era and ruins you for anything that follows. L'Allegro is transformative, sublime, uplifting, thoughtful, and fun.  I consider it a gift -- thank you to MM and his unbelievable dancers!

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It turns out—to no one’s great surprise—that Mark Morris’s L’Allegro, il Penseroso ed il Moderato, now a quarter-century old, is as amazing as it ever was. In fact, like many of the best works of art, it seems to have accumulated extra layers of meaning in the course of its long life.  Or so it seemed to me as I watched it on Saturday at Lincoln Center, exactly twenty-five years to the day after its first performance. If anything, this grand evening-length performance—a celebration of Milton’s seventeenth-century poetry and Handel’s eighteenth-century music as well as Morris’s abundant choreographic imagination—was richer and more galvanizing than ever.

Part of what I found so moving, this time, was its splendidly persuasive utopianism. How can a work that begins in melancholy and ends in mirth—that starts in autumn, essentially, and concludes in spring—strike us as so beautifully true? I can’t answer this question.  I can only say that if this great work comes to your vicinity, you should see it, preferably as often as possible. I attended two of its three recent performances at the White Light Festival, and my only regret is that I didn’t see the third.

-The Lesser Blog

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Coming full circle

My first encounter with L'Allegro was an accident. One day in 1992, I came to NYC from Westchester looking for a show to see in order to write a school paper for my dance composition class assignment. I went to a half-priced ticket booth to find any show that was playing that night. I happened to buy a ticket for a then-unknown-to-me company called "Monnaie Dance Group/Mark Morris" at BAM. My seat was perfect -- dead-center in the Mezzanine.  I started out watching L'Allegro with my notebook and pen in hand.  After a few sections, my note-taking went quickly out the window.  I was completely absorbed in the world of L'Allegro that unfolded before my eyes.  I have no memory of ever getting up from my seat that night. All I remember is that by the end of the evening, I could not stop crying, and made a vow to myself that I would someday dance with Mark Morris, and particularly in L'Allegro.

My dream did come true. Performing in L'Allegro is about coming full circle.  My journey started when I first saw the piece and I completed the circle when I finally got to perform it in 2002. However, my circles continually evolve every time I participate in this wonderful work. Even though I have now performed in it for over 10 years, L'Allegro continues to surprise me with new discoveries each time we re-visit the show. I enjoy growing with L'Allegro and take great pleasure in sharing my love of the piece through MMDG’s outreach program, particularly with Dance for PD®.  

- Utafumi Takemura

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Singing for MMDG

Since the Brussels premiere of Mark's Dido, I've been blessed to have been a part of several MMDG works, singing in the chorus of Emmanuel Music for DIdo and Jesu, meine Freude and L'Allegro.  I can't remember how many times I've seen L'Allegro -- in NY, in Boston, in London -- first with Kraig Patterson and his bandy-birdy legs dancing Sweet Bird, later with David Leventhal in that role, and several dancers in between.  But the performances that live with me most vividly were the ones in which I sang in the chorus, first in 1994 and again in 2006 for the 25th anniversary season of MMDG. Craig Smith, who conducted the first Brussels performances, led the musicians of Emmanuel Music for both Boston runs. The 2006 L'Allegro may have been the last thing Craig, who died in 2007, did with MMDG. There's no doubt in my mind that it's the best 20th-century dance there is, and to have been part of it was pure privilege and one of the highlights of my life.  

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One of the most magical nights of theater

To Mark Morris and the company and staff of MMDG, congratulations on 25 spectacular years of L'Allegro!

It was with this magnificent work of art that I made my debut with MMDG. The first time I saw the piece was 10 years later, after I had retired from the company. I truly loved the piece from a performer's perspective, however, experiencing L'Allegro as an audience member, from the other side of the proscenium, was even greater. It was one of the most magical nights of theater I have ever seen. 

Merde and toi toi toi to all! Bradon McDonald MMDG 2000-2010

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Gone to the dogs....

After two hours of what I felt was exquisite dancing, a friend who had seen L'Allegro for the first time, ran up to me, hugged me, and exclaimed: "That was so wonderful! You were the best dog!" What started in Brussels at La Monnaie, and ended, for me, more than twenty years later at Lincoln Center were years of amazing dancing, close friendships, and incomparable artistry. Congratulations on 25 years, L'Allegro! You made it! Best, Joe Bowie

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A cultivation of depth, warmth, humanity

I’ve been watching L’Allegro since 1994, having had the privilege of seeing multiple performances during each of its four seasons in Berkeley as well as at the 2002 Mostly Mozart Festival in New York. I learned the hard way to get tickets to every show, that nothing else I could experience during the hours of a performance (even a college soccer playoff match starring my beloved younger son) would be equal to the pressure of not being at L’Allegro.

Each of these many shows has been a life-changing enlargement, a cultivation of depth, warmth, humanity. L’Allegro’s satisfactions are legion: thrilling dance sequences, gorgeous stage pictures, sacred geometries, sublime interactions of color, light, sound, and movement.

While the work itself, thanks to Mark’s choreographic genius and ongoing shepherding, is as consistent as the rising of the sun each morning, there are magical moments that emerge in each performance. All of the dancers are glorious, and I am particularly grateful for Didi’s Pensive Nun, Marjorie’s Sage and Holy, June's These pleasures, Melancholy give, the Haste Thee Nymphs of Kraig and David, the Gorgeous Tragedys of Ruth and Maile. And I can’t imagine what I have ever done to deserve to see As Steals the Morn even once, let alone these many happy times. Thank you.

-Susan Weber

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Photo: Klaus Lefebvre 1988 Dancer: Ruth Davidson

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Friends made a dream possible.

I first saw L'Allegro in Costa Mesa in April 1997. I was so lucky!!! I was already a big Mark Morris fan by then, but had only read about L'Allegro in Joan Acocella's book and had heard her give a talk about MM and this work. I really wanted to see it (the twisting "wanton heed" contrasting with the simple serenity of the "Balkan line dance," the lovely "hidden soul of harmony" rising out of the trio, and so much more) but I didn't think I could afford to go all the way to California (I was a grad student back then and was living in Massachusetts.) But I had been going on to my friends about how much I wanted to see it, and then, just a few days before the performance, a couple of them offered me a Frequent Flyer ticket that they couldn't use! And all they asked in return was a box of See's chocolates. Was I ever elated! And grateful!!! I quickly booked a flight, hotel room, and ticket, and got hold of a copy of the libretto and a CD of the music (for reading and listening on the plane) and was on my way!!!! (I remember well: it was the April Fool's day blizzard in Massachusetts, but in Costa Mesa I went to the beach!) L'Allegro was everything I imagined it would be and more! Stunning! Such a work of genius, and so brilliantly performed. I've seen it two more times since then and will never get tired of it! (And never stop being grateful to my wonderful friends who gave me that plane ticket and made a dream come true!) Congratulations and thanks to MMDG on the 25th anniversary of this magnificent masterpiece!

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A moment so fantastic that only Mark could have created it

I hope my memory serves me well. Although it looms large in my heart, It has been a long time since I performed in L'Allegro. One of my clearest memories is from one of the first rehearsals in Brussels. I had already danced in the first The Hard Nut but I was 22 years young and had never understudied anything nor had I worked for anyone else besides Mark. I didn't know what exactly I was responsible for (and I was too scared to ask) so I figured it was best to learn absolutely EVERYTHING. This was Mark after all. Be Prepared. VERY VERY prepared. So Day 1, Penny Hutchinson, one of the best dancers I have ever seen to this day,  was going through her solo in the studio. I began to learn the solo behind her.  She noticed me following along and eventually took me aside and says, "Don't worry Hun. You wont be doing this dance - just the large group numbers!". She may have rolled her eyes afterwards, but she was allowed.  She was Penny Hutchinson and she was divine! As for me, I was too relieved to care. For the most part, Penny's advice was spot on except there was one time where the irreplaceable Jon Mensinger could not go on last minute. And when I say last minute I mean, someone told me around 5 pm that I would be replacing him that evening. As I recall, I did "Haste Thee Nymph" with the men's trio that night.  Although today as I sit here and write this I cannot remember why the male understudy didn't do it.  He was either too busy replacing other men in the cast or he didn't know "Haste Thee Nymph" as well as I did  because I had done it with the women many times before.  Either way,  we did one crazy show where "Haste Thee Nymph" had two boys and girl.  I Swear!

I feel both lucky and honored to have been a part of the stunning dance that is L'Allegro and will always get a chill of excitement imagining that last moment of the dance, where the dancers run in circles with complete and exact abandonment.  It will always thrill me to remember both watching and dancing that moment, a moment so fantastic that only Mark could have created it.  

- Jordana Toback Rossi, Dancer

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Changed the way I look at art and culture

I was happy to hear this thread had been started since I'm a hugely appreciative fan of L'Allegro. I first saw the dance at BAM after being convinced by my then wise, intelligent and attractive girlfriend (now my wife) to give it a chance. I had seen some of Mr. Morris's works before and thought they were pretty great but I'd rather, at the time, spend time playing basketball with my buds followed by pints. Maybe I'm a late bloomer to these things, but after I saw L'Allegro, I felt I had a major shift change in the way I look at art and culture. It inspired me to not only learn more about dance, but got me going to museums, galleries, theater. It may sound trite, but it was eye opening. The experience helped me solidify my relationship with my partner since I became active in the worlds she inhabits. We have our tickets and I know there will be someone in the audience who was just like me and who will be changed as I was and remain. 

- Bob

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One sensed you were a part of something special

Part The First

I was dancing with Baryshinkov's White Oak Dance Project when first asked to join the joy that is L'Allegro. It was quite a different experience to be a part of the large ensemble. One sensed that you were part of something special, that moved audiences, at would continue for sometime to come. All the many components -the sets, the chorus, the orchestra (fondly? called "the band" by Mr. Morris) created a huge family of artists that you soon grew to know and respect and miss when the particular tour ended. The often ensemble choreography, in step with the flock, created space to let go of the soloist self and give in to the congregation.

Part The Second

One year, I had moved away from New York and then lived in Los Angeles. When the call came to come back to rehearsal, I assumed I would not be included when Nancy realized I no longer lived in NYC. I was wrong. They flew me in and put me up. I was again with the MMDG family. I think it may have been my last tour, and I was thrilled to be there. Years later, I truly treasure the several close friendships that were cultivated during that period. I look forward to sitting in the audience with teary eyes at the 25th Anniversary performance.

- Vernon Scott

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MMDG dancer Maile Okamura - from The Kennedy Center's Behind the Curtain series on L'Allegro.

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Place and process were connected

As an original cast member, L'Allegro reminds me so deeply of living in Bruxelles at the time it was made - filtered Belgian fall sunlight, ancient stone buildings, bone-chilling air and the smell of chocolate from the nearby factory. The warm pleasure of seeing my dance colleagues (American, Belgian, German, Italian) every day at the Rue Bara studios. Place and process were connected. We didn't really talk about it, but as L'Allegro unfolded, lyric by lyric, we all knew how beautiful this piece was. And how incredibly masterful. Thank you, dear Mark, for bringing this dance into the world.

- Holly Williams